He is 22 years old young talented man. He just started to shoot since 19 years old. But with his amazing creative bokeh and impressive creamy vintage color palette , and also his friends who agree being the models. Now 753 thousands people are following him on instagram and he also doing commercial shoot for some famous branded fashion.

To get the bokeh aesthetic that he want, Brandon use 3 prime lens with aperture : 35mm f/1.4, 50mm f/1.4 and 85mm f/1.4 . He take Digital SLR Nikon D740 as his weapon. He loves to shoot at night with the city lights as the main bokeh stuff to create atmosphere. Beside  that, Brandon often to add lighting effect using strand lighting circuits, prism glass and also CD pieces. 

Brandon is really good in editing photo skill to create vintage look with unique creamy color. You can see how he create the standard photo become very impressive with his editing skill bellow, there are before and after photo editing : 

Follow Brandon on instagram or visit his portfolio here. All photos are copyright by Brandson Woelfel 

Five legendary photographers which is also Canon Ambassador ( Canon Professional Network) give advices and tips for beginner photographer. They are Nick Nichols ( National Geographic), Gary Knight ( VII photo Agency), Ziv Koren (Polaris), Frits van Eldik ( formula 1 photographer) and Paolo Pellegrin (Magnum)

Ziv Koren

For examples :

The full l video , click HERE.

Well.... hello photogaphy lovers, today i will share the 100 quick Photographer tips for beginner. And all this tips belong to erick kim. Eric kim is a famous street photographer. He is a photography teacher currently based in Berkeley, California. His life’s mission is to produce as much “open source photography” during his short tenure on earth. Maybe there are some tips that you don't agree , but that's is the point of learning ,isn't it? allright let's learn from the master :

1. Just because someone has an expensive camera doesn’t mean that they’re a good photographer.
2. Always shoot in RAW. Always.
3. Prime lenses help you learn to be a better photographer.
4. Photo editing is an art in itself
5. The rule of thirds works 99% of the time.
6. Macro photography isn’t for everybody.
7. UV filters work just as well as lens caps.
8. Go outside and shoot photos rather than spending hours a day on photography forums.
9. Capture the beauty in the mundane and you have a winning photograph.
10. Film isn’t better than digital.
11. Digital isn’t better than film.
12. There is no “magic” camera or lens.
13. Better lenses don’t give you better photos.
14. Spend less time looking at other people’s work and more time shooting your own.
15. Don’t take your DSLR to parties.
16. Being a photographer is sexy.
17. Making your photos b/w doesn’t automatically make them “artsy”
18. People will always discredit your work if you tell them you “photoshop” your images.     Rather, tell them that you process them in the “digital darkroom”.
19. You don’t need to take a photo of everything.
20. Have at least 2 backups of all your images. Like they say in war, two is one, one is none.
21. Ditch the neck strap and get a handstrap.
22. Get closer when taking your photos, they often turn out better.
23. Be a part of a scene while taking a photo; not a voyeur.
24. Taking a photo crouched often make your photos look more interesting.
25. Worry less about technical aspects and focus more on compositional aspects of            photography.
26. Tape up any logos on your camera with black gaffers tape- it brings a lot less attention to you
27. Always underexpose by 2/3rds of a stop when shooting in broad daylight.
28. The more photos you take, the better you get.
29. Don’t be afraid to take several photos of the same scene at different exposures, angles,or apertures.
30. Only show your best photos.
31. A point-and-shoot is still a camera.
32. Join an online photography forum.
33. Critique the works of others.
34. Think before you shoot.
35. A good photo shouldn’t require explanation (although background information often adds to an image). *
36. Alcohol and photography do not mix well.
37. Draw inspiration from other photographers but never worship them.
38. Grain is beautiful.
39. Ditch the photo backpack and get a messenger bag. It makes getting your lenses and camera a whole lot easier.
40. Simplicity is key.
41. The definition of photography is: “painting with light.” Use light in your favor.
42. Find your style of photography and stick with it.
43. Having a second monitor is the best thing ever for photo processing.
44. Silver EFEX pro is the best b/w converter.
45. Carry your camera with you everywhere. Everywhere.
46. Never let photography get in the way of enjoying life.
47. Don’t pamper your camera. Use and abuse it.
48. Take straight photos.
49. Shoot with confidence.
50. Photography and juxtaposition are best friends.
51. Print out your photos big. They will make you happy.
52. Give your photos to friends.
53. Give them to strangers.
54. Don’t forget to frame them.
55. Costco prints are cheap and look great.
56. Go out and take photos with (a) friend(s).
57. Join a photo club or start one for yourself.
58. Photos make great presents.
59. Taking photos of strangers is thrilling.
60. Candid>Posed.
61. Natural light is the best light.
62. 35mm (on full frame) is the best “walk-around” focal length.
63. Don’t be afraid to bump up your ISO when necessary.
64. You don’t need to always bring a tripod with you everywhere you go (hell, I don’t even  own one).
65. It is always better to underexpose than overexpose.
66. Shooting photos of homeless people in an attempt to be “artsy” is exploitation.
67. You will find the best photo opportunities in the least likely situations.
68. Photos are always more interesting with the human element included.
69. You can’t “photoshop” bad images into good ones.
70. Nowadays everybody is a photographer.
71. You don’t need to fly to Paris to get good photos; the best photo opportunities are in     your backyard.
72. People with DSLRS who shoot portraits with their grip pointed downwards look like        morons.
73. Cameras as tools, not toys.
74. In terms of composition, photography and painting aren’t much different.
75. Photography isn’t a hobby- it’s a lifestyle.
76. Make photos, not excuses.
77. Be original in your photography. Don’t try to copy the style of others
78. The best photographs tell stories that begs the viewer for more.
79. Any cameras but black ones draw too much attention.
80. The more gear you carry around with you the less you will enjoy photography.
81. Good self-portraits are harder to take than they seem.
82. Laughter always draws out peoples’ true character in a photograph.
83. Don’t look suspicious when taking photos- blend in with the environment.
84. Landscape photography can become dull after a while.
85. Have fun while taking photos.
86. Never delete any of your photos.
87. Be respectful when taking photos of people or places.
88. When taking candid photos of people in the street, it is easier to use a wide-angle than a telephoto lens.
89. Travel and photography are the perfect pair.
90. Learn how to read a histogram.
91. A noisy photo is better than a blurry one.
92. Don’t be afraid to take photos in the rain.
93. Learn how to enjoy the moment, rather than relentlessly trying to capture the perfect      picture of it.
94. Never take photos on an empty stomach.
95. You will discover a lot about yourself through your photography.
96. Never hoard your photographic insight- share it with the world.
97. Never stop taking photos
98.  Photography is more than simply taking photos, it is a philosophy of life
99. Capture the decisive moment
100. Write your own list.

 “I sometimes find the surface interesting. To say that the mark of a good portrait is whether you get them or get the soul - I don't think this is possible all of the time.”
—Annie Leibovitz

Annie Leibovitz, considered one of America's best portrait photographers, developed her trademark use of bold colors and poses while at 'Rolling Stone.'


  

Synopsis
Photographer Annie Leibovitz was born on October 2, 1949, in Waterbury, Connecticut. In 1970 she landed a job at Rolling Stone and went on to create a distinctive look for the publication as chief photographer. In 1983 she began working for the entertainment magazine Vanity Fair, continuing to produce images that would be deemed iconic and provocative. Having also worked on high-profile advertising campaigns, Leibovitz's images have been showcased in several books and major exhibitions around the world. 

Chief Photographer for 'Rolling Stone'

 Anna-Lou Leibovitz was born on October 2, 1949, in Waterbury, Connecticut. She was one of six children born to Sam, an Air Force lieutenant, and Marilyn Leibovitz, a modern dance instructor. In 1967, Leibovitz enrolled at the San Francisco Art Institute, where (although initially studying painting) she developed a love for photography.

After living briefly on an Israeli kibbutz, the statuesque Leibovitz returned to the U.S. and applied for a job with the start-up rock music magazine Rolling Stone in 1970. Impressed with Leibovitz’s portfolio, which included an image of counter-culture icon Allen Ginsberg, editor Jann Wenner offered her a job as a staff photographer. Within two years, the 23-year-old Leibovitz was promoted to chief photographer, a title she would hold for the next decade. Her position with the magazine afforded her the opportunity to accompany the Rolling Stones band on their 1975 international tour, though she lost herself from the experience and ended up grappling with a crippling drug addiction.

While with Rolling Stone, Leibovitz developed her trademark technique, which involved the use of bold primary colors and surprising poses, as seen with a 1979 Bette Midler cover inspired by the rock music film The Rose. Leibovitz is credited with making many Rolling Stone covers collector's items, including an issue that featured a nude John Lennon curled around his fully clothed wife, Yoko Ono. Taken on December 8, 1980, Leibovitz’s Polaroid of the former Beatle was shot just hours before his death.

Iconic Covers for 'Vanity Fair'
In 1983, Leibovitz left Rolling Stone and began working for Vanity Fair. With a wider array of subjects, Leibovitz’s photographs for the magazine ranged from presidents to literary icons to teen heartthrobs. Leibovitz's shoots also became known for over-the-top budgets that would later be at the center of major financial challenges.

To date, a number of Vanity Fair covers have featured Leibovitz’s stunning—and often controversial—portraits of celebrities. Demi Moore (very pregnant and very nude followed by a body painting shoot), Whoopi Goldberg (half-submerged in a bathtub of milk), Sylvester Stallone (appearing nude in a pose inspired by Rodin's "The Thinker") and Caitlyn Jenner (in a corset after having publicly revealed her identity as a woman) are among the most remembered celebs to grace the cover. Known for her ability to make her sitters become physically involved in her work, another of Leibovitz’s most famous portraits is of the late artist Keith Haring, who painted himself like a canvas for the photo.

The Olympics
During the 1980s, Leibovitz also started to work on a number of high-profile advertising campaigns. One of her most notable projects was for American Express, for which her portraits of celebrity cardholders like Elmore Leonard, Tom Selleck and Luciano Pavarotti earned her a 1987 Clio Award.

In 1991, Leibovitz’s collection of more than 200 photographs were exhibited at the National Portrait Gallery in Washington, D.C. She was the first woman to be so honored. Later that year, a book was published to accompany the show titled Photographs: Annie Leibovitz, 1970-1990. In 1996, Leibovitz worked as the official photographer of the Summer Olympics in Atlanta, Georgia. A compilation of her black-and-white portraits of American athletes, including Carl Lewis and Michael Johnson, were published in the book Olympic Portraits.

Exhibitions and Additional Projects
Widely considered one of America’s best portrait photographers, Annie Leibovitz published the book Women (1999), which was accompanied by an essay by her romantic partner, famed intellectual Susan Sontag. With its title subject matter, Leibovitz presented an array of female images from Supreme Court justices to Vegas showgirls to coal miners and farmers. The project is set to be continued in a travelling exhibition making a London debut in January 2016.

In 2003, Leibovitz published the book American Music, with an emphasis on important figures in the realm of blues, country, folk, hip-hop and jazz. Then in 2006, the Brooklyn Museum of Art presented the retrospective "Annie Leibovitz: A Photographer’s Life, 1990-2005," with a related book published as well. This was later followed by "Pilgrimage," a touring exhibition that debuted in Washington, D.C., in 2012 and focused on items associated with famous figures like Abraham Lincoln and Marian Anderson. As busy as ever, Leibovitz continues to be in demand as a photographer, working on projects that range from a 2014 Marcs & Spencer advertising campaign to the 2016 calendar for the tire manufacturer Pirelli. For the latter, Liebovitz chose to feature mostly clothed women from a variety of backgrounds and ages in contrast to the images of scantily clad models from previous calendars. 
Personal Life

Leibovitz and Sontag were in a 15-year relationship that ended with Sontag's death in 2004, with Leibovitz's father passing away just weeks later. The two women traveled globally and found interconnections with their work, with Sontag encouraging Leibovitz to become more intimate with her photography.

Leibovitz is also the mother of three children. At the age of 51, she had her daughter, Sarah. In 2005, twin daughters Susan and Samuelle were born with the help of a surrogate mother.

Ansel Adams was an American photographer best known for his iconic images of the American West, including Yosemite National Park.

Synopsis

Ansel Adams was born on February 20, 1902, in San Francisco, California. Adams rose to prominence as a photographer of the American West, particularly Yosemite National Park, using his work to promote conservation of wilderness areas. His iconic black-and-white images helped to establish photography among the fine arts. He died in Monterey, California, on April 22, 1984.
Early Life

Ansel Adams was born in on February 20, 1902, in San Francisco, California. His family came to California from New England, having migrated from Ireland in the early 1700s. His grandfather founded a prosperous lumber business, which Adams’ father eventually inherited. Later in life, Adams would condemn that industry for depleting the redwood forests.

As a young child, Adams was injured in the San Francisco earthquake of 1906, when an aftershock threw him into a garden wall. His broken nose was never properly set, remaining crooked for the rest of his life.

Adams was a hyperactive and sickly child with few friends. Dismissed from several schools for bad behavior, he was educated by private tutors and members of his family from the age of 12.

Adams taught himself the piano, which would become his early passion. In 1916, following a trip to Yosemite National Park, he also began experimenting with photography. He learned darkroom techniques and read photography magazines, attended camera club meetings, and went to photography and art exhibits. He developed and sold his early photographs at Best’s Studio in Yosemite Valley.

In 1928, Ansel Adams married Virginia Best, the daughter of the Best’s Studio proprietor. Virginia inherited the studio from her artist father on his death in 1935, and the Adamses continued to operate the studio until 1971. The business, now known as the Ansel Adams Gallery, remains in the family.

Career

Between 1929 and 1942, Adams’ work and reputation developed. Adams expanded his repertoire, focusing on detailed close-ups as well as large forms, from mountains to factories. He spent time in New Mexico with artists including Alfred Stieglitz, Georgia O’Keeffe and Paul Strand. He began to publish essays and instructional books on photography.

During this period, Adams joined photographers Dorothea Lange and Walker Evans in their commitment to affecting social and political change through art. Adams’ first cause was the protection of wilderness areas, including Yosemite. After the internment of Japanese people during World War II, Adams photographed life in the camps for a photo essay on wartime injustice.

Weeks before the attack on Pearl Harbor in 1941, Adams shot a scene of the moon rising above a village. Adams re-interpreted the image—titled “Moonrise, Hernandez, New Mexico”—over nearly four decades, making over a thousand unique prints that helped him to achieve financial stability.
Later Life

By the 1960s, appreciation of photography as an art form had expanded to the point at which Adams’ images were shown in large galleries and museums. In 1974, the Metropolitan Museum of Art in New York hosted a retrospective exhibit. Adams spent much of the 1970s printing negatives in order to satisfy demand for his iconic works. Adams had a heart attack and died on April 22, 1984, at the Community Hospital of the Monterey Peninsula in Monterey, California, at the age of 82.

 “In photography, the smallest thing can be a great subject. The little, human detail can become a Leitmotiv.”

Henri Cartier-Bresson was a French photographer whose humane, spontaneous photographs helped establish photojournalism as an art form.

Synopsis

Henri Cartier-Bresson was born on August 22, 1908 in Chanteloup, France. A pioneer in photojournalism, Cartier-Bresson wandered around the world with his camera, becoming totally immersed in his current environment. Considered one of the major artists of the 20th century, he covered many of the world biggest events from the Spanish Civil War to the French uprisings in 1968.
Early Years

Widely considered one of the leading artistic forces of the 20th century, Henri Cartier-Bresson was born on August 22, 1908 in Chanteloup, France. The oldest of five children, his family was wealthy—his father made a fortune as a textile manufacturer—but Cartier-Bresson later joked that due to his parents' frugal ways, it often seemed as though his family was poor.

Educated in Paris, Cartier-Bresson developed an early love for literature and the arts. Creativity was certainly a part of his DNA. His great-grandfather had been artist and an uncle was a noted printer. Even his father dabbled in drawing.

As a teenager, Cartier-Bresson rebelled against his parents' formal ways. Early in his adult life he drifted toward communism. But it was art that remained at the center of his life. In 1927 he began a two-year stint studying painting under noted early Cubist, André Lhote, then moved to Cambridge University to immerse himself further in art and literature courses.

Sparked by the avant-garde scene enveloping Paris, and fresh from his release from the Army, which had stationed him just outside Paris, Cartier-Bresson traveled to Africa in 1931 to hunt antelope and boar. Uninterested in actually eating what he'd tracked down, Cartier-Bresson eventually grew tired of the sport and gave it up.
But Africa did fuel another interest in him: photography. He experimented with a simple Brownie he'd received as a gift, taking pictures of the new world around him. For Cartier-Bresson there were direct parallels between his old passion and his new one.

"I adore shooting photographs," he'd later note. "It's like being a hunter. But some hunters are vegetarians—which is my relationship to photography." In short, as his frustrated editors would soon discover, Cartier-Bresson preferred taking shots rather than making prints and showing his work.

Upon returning to France later that year, Cartier-Bresson purchased his first 35mm Leica, a camera whose simple style and stunning results would help define the photographer's work.

For the rest of his life, in fact, Cartier-Bresson's approach to photography would remain much the same. He made clear his disdain for the augmented image, one that had been enhanced by artificial light, dark room effects, even cropping. The naturalist in Cartier-Bresson believed that all edits should be done when the image was made. His equipment load was often light: a 50mm lens and if he needed it, a longer 90mm lens.

Commercial Success

Cartier-Bresson's rise as a photographer proved rapid. By the mid 1930s he'd shown his work in major exhibits in Mexico, New York, and Madrid. His images revealed the early raw possibilities of street photography and photojournalism in general.

During an exhibit of his prints in New York in 1935 Cartier-Bresson befriended another photographer, Paul Strand, who'd begun to experiment with film. Inspired by what he saw, Cartier-Bresson abandoned photography and returned to France where he took work as an assistant with French filmmaker Jean Renoir. Over the next three years, Cartier-Bresson worked on a handful of Renoir films, including his most critically acclaimed, La Règle Du Jeu (1939).

But the documentarian in Cartier-Bresson had no use or particular talent for directing feature films. Instead, he was drawn to showing real stories about real life.

His own life took a dramatic turn in 1940 following the German invasion of France. Cartier-Bresson joined the army but was soon captured by German forces and forced into prison-of-war camp for the next three years.

In 1943, after two failed attempts, Cartier-Bresson escaped for good and immediately returned to his photography and film work. He created a photo department for the resistance and following the end of the war, was commissioned by the United States to direct a documentary about the return of French prisoners.
Man of the World

Not long after the war, Cartier-Bresson traveled east, spending considerable time in India, where he met and photographed Mahatma Gandhi shortly before his assassination in 1948. Cartier-Bresson's subsequent work to document Gandhi's death and its immediate impact on the country became one of Life Magazine's most prized photo essays.

His work to solidify photojournalism as legitimate news and art form went beyond what he did behind the camera. In 1947 he teamed up Robert Capa, George Rodger, David 'Chim' Seymour, and William Vandivert, and founded Magnum Photos, one of the world's premier photo agency.

A wanderlust at heart, Cartier-Bresson's interest in the world led him on a three-year odyssey through Asia. When the photographer returned to France in 1952 he published his first book, The Decisive Moment, a rich collection of his work spanning two decades.

More importantly, perhaps, the book cemented Cartier-Bresson as a photographer with a heart. Over the course of his long career he hauled his Leica around the world to document and show triumph and tragedy in all its forms. He was there for the Spanish Civil War and the Chinese revolution. He documented George VI's coronation and told the story of Khrushchev's Russia. His subjects ranged from Che Guevara to Marilyn Monroe, while his magazine clients ran the gamut, including not just Life, but Harper's Bazaar, Vogue and many others.
Later Years

In 1966, Cartier-Bresson quit Magnum and began to turn his focus to where it had once been: on drawing and painting. He disdained doing interviews and refused to talk much about his previous career as a photographer, seemingly content to bury himself in his notebooks, sketching out landscapes and figurines.

In 2003, Cartier-Bresson, along with his wife and daughter, took an important step in securing his legacy as an artist with the creation of the Fondation Henri Cartier-Bresson in Paris in an effort to preserve his work. His later years would also see him awarded numerous awards and honorary doctorates for his work.

Just a few weeks shy of his 96th birthday, Henri Cartier-Bresson passed away at his home in Provence on August 3, 2004.